Kantor's Anthropological Machine

This article considers how Kantor’s model of the Bio-Object, as a form of object/human inter-animation, might be productive for the contemporary practitioner. It considers the material object in Kantor’s theatre as a device that initiates the caesura that constructs and maintains the complex operation of what Giorgio Agamben calls the Anthropological Machine, and considers how this is active in The Dead Class (1975). It is an attempt to move beyond a eulogizing of the art objects in his work - to find a productivity of making amongst Kantor’s expanding legacy.